Francisco José De Goya Y Lucientes Collection (#17)

Here comes the bogeyman, 1799. Artist: Francisco Goya
Here comes the bogeyman, 1799. Plate 3 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

The sleep of reason produces monsters, 1799. Artist: Francisco Goya
The sleep of reason produces monsters, 1799. From Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain

The spin finely, 1799. Artist: Francisco Goya
The spin finely, 1799. Plate 44 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

Correction, 1799. Artist: Francisco Goya
Correction, 1799. Plate 46 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

There is plenty to suck, 1799. Artist: Francisco Goya
There is plenty to suck, 1799. Plate 45 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Cannibals savouring human remains, 1800-1808. Artist: Francisco Goya
Cannibals savouring human remains, 1800-1808. Savage brandishing head and arm of human, Musee des Beaux-Arts et d Archeologie, Besancon, France

The Shepherd, c1760-1820. Artist: Francisco Goya
The Shepherd, c1760-1820. Private collection

The Injured Mason, 1786-1787. Artist: Francisco Goya
The Injured Mason, 1786-1787. An injured laborer is carried by his colleagues, Prado Museum, Madrid, Spain

Men with faces hidden, c1760-1820. Artist: Francisco Goya
Men with faces hidden, c1760-1820. Located in the collection at, Prado Museum, Madrid, Spain

The Milkmaid of Bordeaux, c1824. Artist: Francisco Goya
The Milkmaid of Bordeaux, c1824. Located in the collection at, Prado Museum, Madrid, Spain. One of the artists final paintings

The Pottery Vendor, 1778. Artist: Francisco Goya
The Pottery Vendor, 1778. Located in the collection at, Prado Museum, Madrid, Spain

La Cometa, (The Kite), 1778. Artist: Francisco Goya
La Cometa, (The Kite), 1778. Located in the collection at, Prado Museum, Madrid, Spain

The Stilts, c1785. Artist: Francisco Goya
The Stilts, c1785. Located in the collection at, Prado Museum, Madrid, Spain

The Grape Harvest, 1786-1787. Artist: Francisco Goya
The Grape Harvest, 1786-1787. Spanish peasant woman harvesting grapes, Prado Museum, Madrid, Spain

The Parosol, 1777. Artist: Francisco Goya
The Parosol, 1777. Located in the collection at, Prado Museum, Madrid, Spain

Loyalty, 1819-1823. Artist: Francisco Goya
Loyalty, 1819-1823. Plate 17 of Proverbs, published in 1864.The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Riddle of Fury, 1819-1823. Artist: Francisco Goya
Riddle of Fury, 1819-1823. Plate 6 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Clear Fantasy, 1819-1823. Artist: Francisco Goya
Clear Fantasy, 1819-1823. Plate 15 of Proverbs, published in 1864.The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

A Village Bullfight, c1812-1814. Artist: Francisco Goya
A Village Bullfight, c1812-1814. From the Royal Academy of San Fernando, Madrid, Spain

Simpleton, 1819-1823. Artist: Francisco Goya
Simpleton, 1819-1823. Plate 4 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Winged Nonsense, 1819-1823. Artist: Francisco Goya
Winged Nonsense, 1819-1823. Plate 5 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Riddle of Fear, 1819-1823. Artist: Francisco Goya
Riddle of Fear, 1819-1823. Plate 2 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Female Riddle, 1819-1823. Artist: Francisco Goya
Female Riddle, 1819-1823. Plate 1 of Proverbs, published in 1864 by the Spanish Royal Academy of Fine Arts in Madrid. The series is also known as disparates, meaning follies

Until death, 1799. Artist: Francisco Goya
Until death, 1799. Plate 55 of Los Caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

Title page of Los Proverbios or Proverbs, 1819-1823. Artist: Francisco Goya
Title page of Los Proverbios or Proverbs, 1819-1823. Published by the Spanish Royal Academy of Fine Arts in Madrid, 1864. This print series is also known as disparates, meaning follies

Portrait of the Actress Antonia Zarate, c1810-c1811. Artist: Francisco Goya
Portrait of the Actress Antonia Zarate, c1810-c1811. Detail. Found in the collection of The Hermitage, St Petersburg

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Francisco José de Goya y Lucientes, a renowned Spanish artist of the 18th and 19th centuries, left an indelible mark on the art world with his diverse range of works. One of his most famous paintings is "The Naked Maja, " created around 1800. This provocative piece showcases Goya's mastery in capturing the human form with sensuality and realism. In contrast to this sensual masterpiece, Goya also painted a portrait of Field Marshal Arthur Wellesley, known as the 1st Duke of Wellington. Completed in 1814, this portrait exemplifies Goya's ability to capture not only physical likeness but also the personality and character of his subjects. Goya's artistic prowess extended beyond traditional portraiture and into more imaginative realms. His work "Ridiculous Dream" from 1819-1823 displays his unique ability to blend fantasy with social commentary. Through dreamlike imagery, he critiques societal absurdities and challenges conventional norms. Another notable series by Goya is "Los Caprichos, " which includes Plate 80 titled "It is time. " Created in 1799, this print reflects Goya's satirical approach towards society's vices and follies. Glimpses into everyday life can be found in works like "Boys Playing at Soldiers, " an oil painting dating back to c. 1775-99. Here we see a glimpse into childhood innocence amidst tumultuous times. Continuing with Los Caprichos series, Plate 60 titled "Trials" offers a biting critique on justice systems through darkly humorous imagery that highlights their flaws. Plate 25 from Los Caprichos titled "If he broke the pot" further explores human folly through its depiction of foolish actions leading to consequences. One cannot discuss Francisco Goya without mentioning one of his most iconic pieces - La Maja Desnuda (The Naked Maja).